Coffee by Sylvan Esso

Seemingly by accident, Mountain Man’s Amelia Meath and Made of Oak’s Nick Sanborn, crossed paths two years ago and inconspicuously conjured alternative two-man-band, Sylvan Esso. Two years on and the pair are quickly attracting positive attention, moreover setting standards for self-titled debut high with charming album single, ‘Coffee’, a vaporous slow-burner spelled with hazy, electro pulses and glitchy pop synths that seamlessly whirl between Meath’s soothing vocals. The refreshingly effortless lyricism works flawlessly amongst Sanborn’s texturised undertones, creating a track simple enough to appreciate in the background, yet nourished with enough layers to set you on the dance floor. Accidental or not, ‘Coffee’ reveals that sooner or later the Durham duo were destined to come together.

No Mythologies to Follow

Bikini Daze left countless critics and pop lovers giddy with excitement of what was yet to come from the deserving talent in Denmark’s MØ. Since the energetic strut of ‘Pilgrim’ and catchy brass hooks of Diplo collaborated ‘XXX 8’ graced our ears last year, No Mythologies to Follow couldn’t have come any sooner. As predicted, it doesn’t disappoint, making the eager anticipation and high expectations surrounding it, totally justifiable.

Captivating from the beginning, opener ‘Fire Rides’ is grasping from its first pulse of booming drums, all while MØ’s distinct, sultry vocals swirl perfectly amongst the glitchy guitars and sparse electronic melodies. The eerie, party-dynamic ambience of ‘Waste of Time’ is followed by bitter-sweet, love song ‘Dust is Gone,’ a stunningly lulling and elegant play underpinned by a heart-wrenching vocals and vaporous instrumentation. ‘Dust is Gone’ immediately reflects the dreamy, 50s-like, vintage-esque vocals of Lana Del Rey, reminding us that MØ can break your heart as well as free it on the dance floor.

The mixture of style in No Mythologies to Follow is a demonstration of MØ’s dissimilar strands of identity, tied together to create an explosion of dynamic yet subtle sublime. It jumps from pulsating pop, to icy electro, to soulful high-note heartbreak with breathtaking effortlessness, setting the Danish talent remotely apart from other pop contemporaries and ending on a piece of art that is very nearly, close to perfection.

Machineries of Joy

Whether it’s their bizarre, dis-ordinary lyricism, signature stage antics or experimentally unique sound, Indie troubadours British Sea Power have always had something profoundly special about them. Five sturdy albums later, the Brighton-based six pack whisk up yet another likeable success with colourful and thrilling show-piece Machineries of Joy.

“We’d like to think the album is warm and restorative,” says singer Yan. “Various things are touched on in the words –. The world often seems a mad, hysterical place at the moment. You can’t really be oblivious to that, but we’d like the record to be an antidote – a nice game of cards in pleasant company.” Considering the dense, dreamy rhythms of ‘Hail Holy Mary’, ghostly, stirring vocals in ‘A Light above Descending’ and sweeping, guitar-pop synths unravelled in ‘Spring Has Sprung’; front man Yan hits the nail on the head, sinking the band into persistent unruffled progress.

Six-minute-long title track opens the album perfectly before shifting effortlessly into feel-good-fun, rock anthem ‘K Hole’. Tracks such as ‘Loving Animals ’and ‘Monsters of Sunderland’ encompass the band’s previous visceral and obscure style whilst ending song, ‘When a Warm Wind Blows Through the Glass’ gives an eerie, lingering close to the album, placing it distinctively out of line with current Rock and Indie sounds of modern day music and arguably making Machineries of Joy BSP’S most favourable piece of work yet.

Born to Die

It wouldn’t be unreasonable to describe Lana Del Rey as a product. New name, new image and new sound, all skilfully constructed and carefully combined to reinvent another primp and perfect, Hollywood clone. Straight away, she sounds like our worst nightmare- yet it was a simple, stand-alone single that made the rich, blank-stared and filthy pouted singer, one of the leading new acts of 2012. The pop-star’s internet viral, Video Games immediately had us gripped. Her hypnotic, seductive vocals became an addiction as we found ourselves hitting the replay button, over and over, until every little detail and note was exceptionally appreciated.

Then the question of whether or not this botoxed beauty is the real deal. How long will she stick around for? Surely there must be further reasoning behind boastfully, self-proclaiming herself as the ‘gangsta Nancy Sinatra’. Her debut album as Lana Del Rey, Born to Die, is where all her talent is unleashed.

Born to Die is lovesick and sad, yet completely sensual and gripping. It should have been a recipe for disaster, considering the endless, clichéd lyrics and repetitive storytelling of her incapability of living without her other half. Instead, the catchy hip-hop beats, mixed with vintage vocals make it utterly irresistible- as her whole persona. Summertime Sadness and Dark Paradise are lingering soundscapes that complement singles, Born to Die and Video Games. Then we have the quirky, head-bopping tune, Off to the Races before the smart and shallow, National Anthem, as she becomes America itself rather than the American, bad-girl-in-love she portrays throughout the album.

Del Rey has produced a rich and wonderfully groomed masterpiece, overflowed with raw emotion, making accusations of false advertising, gossip about surgery and Daddy’s money totally irrelevant. She contains an incredible ability to slip from lazy, deep-toned smugness to high-note heartbreak, all in the same, stunning melody. Oozing with femme fatale and a notable vocal to match, she’s gracefully proved herself to anyone who ever doubted her. Lana Del Rey, is in fact, here to stay.

Wounded Rhymes

Being a huge fan of Lykke Li, I should have been excited for her new album Wounded Rhymes, which was released exactly a week ago on iTunes...but I wasn't. When tuning into her first album last year, Youth Novels, I instantly fell in love with her and couldn't stop listening to her music repeatedly for months on end. With such an amazing album first time round, I was worried her second wouldn't live up to my high expectations and everyone else's standards. Happening so many times before with other amazing artists and bands, I really was biting my tongue and crossing my fingers, in hope that my unbelievable amount of love for her wasn't going to end anytime soon. And it most definitely didn't! Downloading Wounded Rhymes just a few days ago, I'm still in disbelief of how much she's blew me away (once again) and how she hasn't failed to remind everyone how stupidly talented she is.

The album still has the same incredible elements Youth Novels did, but with a more mature and deeper meaning to it. Along with the same quirky, bass-heavy sound she always produces, her lyrics show that she has  developed further. With lyrical utterances such as 'I'm your prostitute..you gonna get some' (from her single Get Some) and supplementary emotional songs such as Sadness is a Blessing and Unrequited Love, it demonstrates how her music has changed from being girly and day dreamy-like, to a more serious and tense focus that draws you in and allows you to concentrate only on her voice and words.

Not only has her sound and lyrics improved, but her style has changed in her videos showing a more artistic, thoughtful and twisted side to her. From a 24 year old who has the ability to write a whole song simply about crying (it's called Let it Fall if you want to hear it) it really shows how gifted and brilliant this girl bloody is. Simply put...download her. You'll thank me forever! I promise.

21

 Im sat here on this blogger because I feel ridiculously obliged to tell all of you just how amazing Adele's new album is and how much I'm in love with it already (but I'm guessing/hoping all of you lot already know this!). '21' which was released on the 19th January has definitely captured everyone's attention, has became the new talk on all music channels and relieved all Adele fan's that she's finally back. After her gospel and disco-like single 'Rolling In the Deep' it's no wonder everyone was stupidly excited to get a hold of her album, and not suprisingly, it didn't dissapoint.


So far, its the most honest, beautiful and simple album I've heard in a very long time and her unbelievable voice makes it a million times better. There's a sense of truth in each song, something only Adele could master, with BBC Music describing it as "simply stunning" and "genuinely brilliant". 


Right now its the only thing im listening to and I'm without a doubt going to rinse it like the rinsing it bloody deserves. 'Someone Like You' and 'Don't You Remember' were the first two I listened to when she performed them on Radio One Live Lounge, and again, her immense voice just blew me away (as well as made me cry, a lot.) 'Rumour has it' is also another of my favourite as well as 'Set Fire to The Rain'. I'm wrapping it up here because I shouldn't be convincing any of you to listen to this, for one this is already late, and secondly, its Adele, everyone loves a bit of Adele.

'Half heart-wrenching, half uplifting. It's nearly good enough reason to break up with someone, simply so you can mope in it' The Guardian.